Chicago Tribune's Scores

For 7,599 reviews, this publication has graded:
  • 62% higher than the average critic
  • 2% same as the average critic
  • 36% lower than the average critic
On average, this publication grades 1.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Autumn Tale
Lowest review score: 0 Car 54, Where Are You?
Score distribution:
7599 movie reviews
  1. The film has many strengths, but one of its major assets is its solid sight line. Though we might expect it to go sentimental - with its cute cat, torn families and sympathetic, pretty protagonists - it doesn't.
  2. De Broca never develops the transforming love onscreen and ends up with an awkward and indigestible movie.
  3. The biggest surprise may be what the filmmaker doesn't show; he withholds a big dramatic payoff, so the audience must fill in the blanks.
  4. There are better holocaust dramas than Grey Zone -- "Schindler's List" for one, and due later this year, Roman Polanski's magnificent "The Pianist." But few will disturb you like The Grey Zone -- mostly because it won't try for tears.
  5. It's a warmly realistic comedy-drama that pulls you right into its lively, well-drawn L.A. milieu.
  6. It's a movie that puts Samuel Jackson in kilts, Robert Carlyle in a red Jaguar, and the audience -- if they have any sense at all -- out in the lobby, looking for another picture.
  7. The film is a disturbing and frighteningly evocative assembly of imagery and hypnotic music.
  8. Skates over depravity when, like Crane, it should have dug down deeper.
  9. Ends up a few frames short of the perfect horror film, but very few.
  10. This is the debut feature for Columbia College graduate Gilio, and it shows great promise.
  11. Some of its parts are nifty, but the sum of these parts is nothing.
  12. Moore's best movie, and one of the most blisteringly effective polemics and documentaries ever.
  13. This is one of those films that encapsulate most of its maker's key thoughts and feelings while also connecting us vividly to a fascinating past. No one who loves French film (or movies in general) should miss it.
  14. A film that comes close to re-creating the funny-but-serious environment of stand-up comedy.
  15. One hopes that this is Hollywood's last go-round with Swept Away. Watching this fiasco, I kept having nightmares about a possible cartoon version, co-starring Cruella de Vil and Shrek.
  16. The whole film, in fact, seems too fast for its own good. It plays like a synopsis, jumping from scene to scene, grief to grief, and it doesn't let us relax into the various worlds it's creating.
  17. An Adam Sandler movie with class, and if that sounds like an oxymoron, so be it. The movie is a happy nightmare of silly-smart movie comedy that defies category - and challenges expectations involving Sandler and his pictures.
  18. There's nothing original about the father-son conflict that forms the core of the film, nor is there enough suspense and drama.
  19. Surprising less moldy and trite than the last two.
  20. Ambitious, yes. Does it work? Not really. While it's genuinely cool to hear characters talk about early rap records (Sugar Hill Gang, etc.), the constant referencing of hip-hop arcana can alienate even the savviest audiences.
  21. Twohy pulls all the strings to create an inventive genre piece.
  22. Muddles through as a film so uninterested in character, it doesn't bother assigning names to them.
  23. Although bright, well-acted and thought-provoking, Tuck Everlasting suffers from a laconic pace and a lack of traditional action.
  24. Even at a mere 82 minutes, the movie is guilty of killing time. It's not a complete Kaputschnik, but it's sure no Bellini.
  25. The result is both engrossing and moving, a poem about a love that breaks barriers and passes understanding.
  26. Jonah may resemble an 83-minute Sunday school lesson, but at least it's a playful, colorful one, with spunky peas and tomatoes, chirpy kids' tune-- and bright animation that may not rival "Monsters, Inc." or "Shrek" but gets its points across.
  27. By re-imagining a pivotal, terrible 24 hours, Greengrass has made a must-see film that is timely - and timeless.
  28. Red Dragon is very much a product, and a superior one, of our times. So is Anthony Hopkins' top-notch fiend, the bad doctor.
  29. At least Reno is around -- and he's the only spice in this stale, slick stew
  30. Dark as it is, the humor makes it work, especially Greene's typically witty and compassionate portrayal of Mogie.

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